L’Atalante’s 1962 appearance on Sight and Sound’s decennial poll of the ten greatest films of all time, alongside such classics as Citizen Kane (1941) and Battleship Potemkin (1925), solidified its status as a cineaste favorite and required arthouse fare. François Truffaut and others have advocated for its brilliance, lyricism, and admirable earthiness. Yet the film community’s insistence on L’Atalante’s greatness has distanced some modern critics from it, including David Kamp and Lawrence Levi, who fail to see profundity in its artful shots and poetic sequences. While it is not clear to me that it belongs alongside Kane or Potemkin, or that it outranks other French films of its era such as The Grand Illusion (1937), L’Atalante is nevertheless … Read the rest